12 Songs, 1 Hour 2 Minutes

EDITORS’ NOTES

With Spacemen 3's Sonic Boom brought in as producer to fortify its sound, In Limbo shows off a new depth to Teen's impressive girl-group pop. "Better" starts simply enough, with yet another catchy melody escaping from Teeny Lieberson's lips. But as the minutes pass, the sound builds a hypnotic web around the keyboard line. It sounds like The Cure's "In Between Days" being looped for all eternity. This delicious mix of garage rock, Britpop, art-punk, and psychedelia ensures that every song brings something unexpected to the fore. An organ hangs in the background of "Come Back"; staggered beats drag "Sleep Is Noise" into the abyss; even colder beats turn "Why, Why, Why" into a tune that sounds as if Joy Division added a female component. Skrotches of distorted guitars and '80s synth-pop keys collide for the ominous "Roses & Wine." Imagine Blondie forsaking its '60s-style pop not for disco but for post-punk, and you'll have some idea of what fires up Teen.

EDITORS’ NOTES

With Spacemen 3's Sonic Boom brought in as producer to fortify its sound, In Limbo shows off a new depth to Teen's impressive girl-group pop. "Better" starts simply enough, with yet another catchy melody escaping from Teeny Lieberson's lips. But as the minutes pass, the sound builds a hypnotic web around the keyboard line. It sounds like The Cure's "In Between Days" being looped for all eternity. This delicious mix of garage rock, Britpop, art-punk, and psychedelia ensures that every song brings something unexpected to the fore. An organ hangs in the background of "Come Back"; staggered beats drag "Sleep Is Noise" into the abyss; even colder beats turn "Why, Why, Why" into a tune that sounds as if Joy Division added a female component. Skrotches of distorted guitars and '80s synth-pop keys collide for the ominous "Roses & Wine." Imagine Blondie forsaking its '60s-style pop not for disco but for post-punk, and you'll have some idea of what fires up Teen.

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